Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Genesis 3 ends on a decisive, and decisively negative, note. Yahweh “drove the man out” of the garden, and, in addition, “at the east of the garden of Eden He stationed the cherubim, and the flaming sword which turned every direction, to guard the way to the tree of life.”…
When she died in 2005 at the age of 72, Anna Haycraft, the author who published under the name Alice Thomas Ellis, was a celebrated writer in Great Britain. While working at Duckworth Publishers(which her husband owned), she produced a dozen novels, a collection of short stories, a cookbook, volumes…
Some have suggested recently that my "project" is postmodern. To clarify my views on postmodernism, I'm re-posting something I wrote in 2005, with a few modifications. For a fuller discussion, you can check out my Solomon among the Postmoderns (Canon, 2008). First, it is helpful to distinguish, as many writers…
Calling Jerusalem the "holy city" comes so naturally to Christians that it comes as something of a surprise to realize how infrequently the phrase is used in Scripture. Not only is Jerusalem rarely called holy, but in the Old Testament this classification is found only in texts that refer to…
Asking why the church doesn’t sing hymns or even why men don’t sing in church is a bit like lamenting over the lame man who can’t waltz on the dance floor. While it is a valid question, the more immediate question would seem to be, “why doesn’t the lame man…
The theme of 1 Timothy is the distinction between the true children in the Household of God and false children who really belong to the household of Satan. This is seen in the fact that in the chiastic structure of the Epistle, heresy is the subject in the center (…
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Ibsen, Steiner argues, did not write tragedies. Ibsen wrote “dramatic rhetoric” calling society to reform. For real tragedy, there is no such “solution” to be found, there is no remedy, except destructive sacrifice and perhaps a deus ex machina. From this angle, tragedy is perhaps among the STOICHEIA that prepared…
Some more quotations from Steiner’s Death of Tragedy : “We cannot understand the romantic movement if we do not perceive at the heart of it the impulse toward drama . . . . The romantic mode is neither an ordering nor a criticism of life; it is a dramatization. And…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Steiner notes that, following the Renaissance, European drama operated under the shadows of neo-classical and Elizabethan dramatic practice, the former “closed” and rigidly adhering to Aristotelian criteria, the other open and experimental. He discusses the theory of Thomas Rymer (a neo-classicist) at some length, concluding that the controversies that Rymer…
George Steiner in his Death of Tragedy describes the “Shakespearean difference” as mainly due to Shakespeare’s avoidance of fascination with Hellenic models: “The neo-classic view [which rigidified Aristotelian conceptions of tragedy] expresses a growing perception of the miracle of Greek drama. This perception was fragmentary. There were few translations of…
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